Readers read, cryptographers encrypt, and writers should know the difference. An intelligibility requirement attaches of particular necessity to a literary work that purports to be a narrative.Airscoop Dest’nystands in contradiction as a mélange so various in substance and kind as to defy coherency. From the poem’s first page, where one sees no need to begin, absurdities abound:

Irrelevant epigraphs; fabricated archaisms, lunatical capitalization, convoluted elisions, strophes and enjambments of such erratic character as to subvert articulation of however brief duration, pompous foreign intrusions and, as oddity’s dernier cri, running requests to a phantom projectionist. Of clinical interest is the poet’s avoidance of end-line punctuation, an OCD usage observable as well in the strophes’ prow-and-spearhead symmetry. Generally speaking, rhyme and meter are jejune and inept.

The poet’s “B’lovèd,” upon whose oft-invoked presence this interminable ramble turns – and turns and turns – is its most bathetic feature. So far as we are aware, Washington remains an involuntary celibate.

With regard to the many tasteless moments, as Airscoop Dest’nyis of interest as a case study, the editorial staff thought better of abridgment. Freedom of expression also entered our deliberations, along with the possibility of litigation. Modeled ineptly on vers libre, vers atroce stands as Washington’s ineffectual hedge against perceptions of ineptitude and, indeed, sanity. Should one choose to see the poem as a typographic error, one does little harm to its substance.

Lemmo Djoost, Ph.D The Tower, Tübingen-on-Hudson

* * *

Art is hinged from the top of art.–Bark Frameworks, Inc.

The bat lives in a world painted in shades of its own voice. –from Gordon Grice’s Bat Country

senescent, Naught plus Less, and all of this in Mufti murkY, Finials fungal on Maidens low-slung, particularlY She of tHe Vine-ripened Matrices as quite AnotHer, a Touch bottom-heavY (O touchY Bottom HeavenlY!) sees in settling down tHe WaY, AnotHer, furth

Babbitt’s All Set is a snazzy twelve-tone piece for jazz ensemble. Were it scored for a Pierrot ensemble it might seem bone dry, and if a jazz combo were provided atonal charts, this wouldn’t be the result. Regardless, I can’t help but listen and grin throughout.

Babbitt’s All Set is a snazzy twelve-tone piece for jazz ensemble. Were it scored for a Pierrot ensemble it might seem bone dry, and if a jazz combo were provided atonal charts, this wouldn’t be the result. Regardless, I can’t help but listen and grin throughout.

The music unfolds in a great arc of color, motion and sweep. One is reminded of an hallucination owing to the music’s lack of obvious form – as if no bar lines or structure existed. Arthur Rubinstein called it “wind howling around the gravestones.”

The music unfolds in a great arc of color, motion and sweep. One is reminded of an hallucination owing to the music’s lack of obvious form – as if no bar lines or structure existed. Arthur Rubinstein called it “wind howling around the gravestones.”

We come to a third and final installment in a survey of Atopos recordings. It’s not that I’ve saved the best for last, but rarities, yes. Any recordings of Vinko Globokar and Jean-Pierre Drouet, whether together or separate, are a reason to celebrate.

We come to a third and final installment in a survey of Atopos recordings. It’s not that I’ve saved the best for last, but rarities, yes. Any recordings of Vinko Globokar and Jean-Pierre Drouet, whether together or separate, are a reason to celebrate.